Audio, Disclosure Day, Williams/Spielberg

‘Disclosure Day’: Score and Album Details, Audio, Reviews, Photos, Videos and More

Last updated: June 10, 2026 

DISCLOSURE DAY (2026)
Music Composed and Conducted by John Williams

RELEASE DATE
June 12, 2026 (digital)

LABELS
Back Lot Music (digital) / Waxwork Records (physical)

CD and Vinyl versions now available for pre-order at Waxwork Records

TRACK LIST

01. listen… (4:08)
02. memory… (4:07)
03. dive… (4:37)
04. chase… (2:14)
05. believe… (3:35)
06. in vivo… (2:49)
07. negotiation… (3:25)
08. empathy… (2:24)
09. celestial… (6:50)
10. unseen… (3:09)
11. kcxe… (5:56)
12. signs… (2:37)
13. home… (3:37)
14. caught… (5:56)
15. disclosure… (4:22)
16. reprise… (4:54)

TOTAL TIME – 64:40

AUDIO

DIGITAL RELEASE SINGLE

Track 1: listen… (4:12)

REVIEWS

RECORDING SESSIONS
Started late October 2025 in Los Angeles, as confirmed by Mark Graham, head of music preparation at JoAnn Kane Music Service, and continued until January 2026.

According to unconfirmed reports, a 6-hour session took place in October, “mostly slower music,” and a second session in mid/late November focused on the “faster action sequence type music.”

FROM STEVEN SPIELBERG

Steven Spielberg on how John Williams’ score for Disclosure Day compares to the Close Encounters of the Third Kind score (source):

  • There’s one huge difference between the music of Disclosure Day and Close Encounters -well there’s a lot of differences. The Close Encounters score is almost operatic… But the Close Encounters score leads the film… it’s out in front of the movie. But I wanted John’s music in Disclosure Day to be behind the film, to be underneath the film. To lift the movie, but not too far… but just to be able to guide it, lift it, but not ever get in front of it.”

Steven Spielberg at the London premiere:

  • When John saw the movie for the first time, he did something which he’s done a couple of times but not often. He said: “This time, I’m going to write music not to lead the film; I’m going to write music under the film and give it a slight nudge forward, but I’m not going to lead”—like the Indiana Jones and Close Encounters scores lead the film, so symphonic. This is more subtle. But it’s still pure John Williams genious.

From Empire Magazine’s Disclosure Day preview (source):

  • Steven Spielberg
    It’s late February, and Spielberg is on Disclosure Day’s home stretch. “John Williams did his 30th score for me, which we celebrated a couple of days ago,” he begins. “It was bittersweet to say goodbye to the orchestra because we did many sessions, but Johnny provided such a beautiful score.”

Steven Spielberg on The Late Show with Stephen Colbert:

  • During a recent interview on The Late Show with Stephen Colbert, Spielberg mentioned that when he asked Williams to score the film, the Maestro suggested four other composers, but Spielberg insisted that he wanted him to compose the music for their 30th collaboration.

Spielberg on Disclosure Day‘s Finale:

  • According to various sources, Spielberg recently stated that the film concludes in a 20-minute finale that would bring everyone to a united epiphany about what has been happening in the world, what has been kept from us and what we now know.” 

PHOTOS

John Williams conducts at the recording sessions

Original Soundtrack Album – Physical Releases (CD & Vinyl)


More images at the Waxwork Records pre-order page

VIDEOS

Recording sessions footage

*NEW* YouTube:

Instagram/Facebook reel:

Steven Spielberg talks John Williams’ score at the film’s London premiere